The Dark Knight Rises – Because there weren’t enough paeans already

When at the end of time (or 2012, if certain ancient civilizations are to be believed) the undisputed and universally accepted list of best movies ever is prepared by God (after dividing everyone into the good and the bad and the ugly and the Beliebers, and stuffing Richard Dawkins’ head into a very real teapot), the year 2012 is going to be remembered for something special: the best movie EVER made.

When he finished making his last movie in 2010 (which, by the way, was also the best movie EVER), little did Christopher Nolan know that two years thence he would be guilty of the same crime, again. He had other things to worry about.

You see, in 2010, some insolent critics had suggested that maybe, maybe, Nolan might have left a couple of plot holes, nay, half a plot hole, in Inception. In Nolan’s entire five-film career, this insinuation was unprecedented.

“Hole? Hmm… Nah, never heard of such a word, good sir. Pray tell me what it means while I continue walking backwards with my arms at this awkward angle. Also, I seem to be hovering several feet in the air.”

While this accusation was immediately followed by the reopening of the “Did it stop or did it continue spinning?” debate, Nolan decided that he had to give a fitting reply.

He resolved, then and there, to make the most logical and fool proof film plot ever. Such were the humble beginnings of The Dark Knight Rises (TDKR) or, as some insist on calling it, The Greatest Film Ever (TGFE). Nolan is god. _/\_

According to Wikipedia, Nolan “only agreed to a third film on the basis of finding a worthwhile story, fearing that he would become bored halfway through production if he discovered the film to be unnecessary.”

What clear thought! What a penetrating vision! How many film directors do we know today who would make a storyless, pointless, mindless action blockbuster with cheesy dialogues and inane chase sequences, just to make a quick buck from the assured success of a movie? Many.

But not Nolan. He is different. He is god. _/\_

A burning question in many minds was how Nolan would follow up one of the greatest villains on celluloid, Heath Ledger’s enigmatic and anarchic Joker. But Nolan, as usual, was one step ahead of them.

He had already chosen Bane who, according to him, is a “primarily physical villain, he’s a classic movie monster in a way — but with a terrific brain. I think he’s a fascinating character. I think people are going to get a kick out of what we’ve done with him.”

And, oh boy, did we. Nolan ensured this would be different from other trilogies by introducing a totally original, bulky character who wears a breathing device on his nose to keep himself alive and has earth-shattering revelations of a paternal nature to make towards the end. Nolan is god. _/\_

Since it was known beforehand that this was going to be the last installment of the trilogy, fans were worried – was Nolan going to do the unthinkable? Was he going to kill Batman? There could be no other fitting end.

But Nolan had other plans. He had seen deep into the heart of his character and decided that a happy ending to this tale was indeed possible.

At one point it indeed seemed as if all hope was lost: the Batman had perished with the bomb in the sea. But Nolan had a trump card up his sleeve. He had left in a piece of detail which only the most discerning viewer (were you one of them? Were you? Were you?) would have noticed, and he used it to save our hero.

He outwitted all the fans. Nolan is god._/\_

Here’s looking forward to the next sumptuous offering from Nolan, which, by the way, is going to be the best movie EVER.